Concert Pianist. Cultural Architect. Creative Polymath. Brain Change Practitioner. Born in Russia, Yana immigrated to America at age fourteen, and completed her education at top conservatories throughout the US. Yana has enjoyed a prolific international touring career including a sold-out Carnegie Hall debut in New York and performances as both soloist and actress with the Los Angeles Philharmonic at Disney Hall. An experienced producer of innovative concert series, talk shows, and multimedia events - Yana continues to provide inspirational experiences that stimulate the exchange of creativity between artists and audience. An advocate of multipotentiality, Yana believes a thriving career is a diverse one, and continually seeks out new knowledge that supports the broad spectrum of her work. Yana now resides in San Francisco with her husband and son, and moonlights as a certified sailor, diver and practitioner of Neuro-Linguistic Programing and Hypnotherapy.
Seriously!!! This was brilliant! Somebody somewhere is always doing something unusual. I thought he'd be a counter-tenor before I started listening. Bravo!
Ah yes. Summer of 2014 as I recall. [sigh] It was a magnificent experience that I will always treasure. Thank you for inviting me and expanding my horizons.
Was just Introduced to this transcendental music in Clemency Burton Hills’ book “Year of Wonder”. Am grateful to her and to these two superb musicians for taking me to a place suspended in time . Tried to imagine that first audience of prisoners of war huddled together on a freezing January evening of 1941 in the German camp of Stalag VIII-8 and being comforted and sustained by this music . Thank you from Athens , Greece on a very spring like Jan 15 2023. Happy New Year!
Great solo pianist girl On ... amazing... Steinway 9 foot grand concert pianos Sample..... testing.... Haider Haider a Khan Solo pianist Huntsville Alabama USA January 2023
Thank you for noticing. We created that board to minimize the sound, dampen it for less resonance in a small apartment. It was custom designed and built by a piano technician.
Dear Yana, thank you for this fantastic performance! I discovered you just accidentally on RU-vid here. I never heard and enjoyed the whole Rachmaninow Concerto 2 from the begin to the end. Normally I was used to hear this peace as impressive but somewhat just loud and messy. On your play I understood first time the deep sensitiv but strong feelings of the composer as you present with your own. Bravo and congratulations! 👋👋
Thank you for saying these words. It means the world to me as I never want to play just notes and the depth is so incredibly important to bring through every feeling and emotion. This is my favorite piece of music and I’m so happy to have expressed its beauty so you feel it.
It sounded that Bechstein, Estonia, and Shigeru had fast repetitions. Steinway was slow and skipped a lot (was there some problem with its action?). When playing arpeggios, Bechstein produced amazing tonal color changes. Shigeru was impressive as well. The other two did not sound as much. Estonia even sounded pretty dry to me (having trouble accustoming itself to the weather in Indiana?). Thank you for such a wonderful comparison over four different concert grands! ❤
this piece WAS NOT written for piano. and a good piano, like Steinway, has the romantic aesthetic approch, where the ATTACK is not really heard, it is very smooth, because it must sound ROUNDED as in Chopin pieces. repeated notes on Steinway will not sound as a sewing machine as in other simpler pianos, and it is intended to be this way. Scarlatti was not made for pianos.
These kinds of comparisons are really not very useful as the instruments are each located in different positions within the same given room (or worse, sometimes in different acoustic environments altogether) which GREATLY effects the sound. That's why so many newly purchased instruments sound...either disappointingly 'different', or (on much rarer occasion), for being sighted in a smaller room, much better when you get them home. An instrument's placement with the acoustic landscape (particularly near boundary reinforcement walls and corners) effects the sound (at any given position) as much if not more than the instrument itself. Additionally, the angle of the lid to the action and strings effects tone far more (both at the playing position and the audience position) than it does volume. Its physics! One instrument may be better flattered by station in a preferred position in the room, or may be particularly well suited 'itself' to the position (good or bad) it has acquired quite by chance (a bright piano placed between resonant nodes), where one of the other instrument, sighted in that same position, would 'not' be flattered by being substituted into that position (a dark piano placed between resonant nodes). If you play with the lid closed (without having had it voiced for that) you don't really care about its tone anyway, just its 'potential. To save yourself buying 'too much instrument' do some research into acoustics and the propagation of sound waves in a 'defined' space. For the short-hand version, consult with an audiophile about the placement of transducers (speakers) within a sound-field. Moving the piano and 'yourself' away or towards (as opposed to closer to, or away from the long boundary wall) you (a matter of 6" to a foot) in the room will relocate your and the sound board within the acoustic landscape greatly changing the way the piano interacts with a room with 4 walls, making the most difference in the way the instrument sound at the players position. Proximity to boundary walls will change the way the instrument sounds to a 'listener'. In general, if you are not a performer (and you don't require the geometry of a full-grand action), you will likely have greater success getting a quality sound by choosing a smaller (quieter) quality piano (not because it's 'case' fits in the room, but because its 'sonics' do) that allows you the flexibility you need to place it 'optimally' (often in an awkward position aesthetically) for the best sound in a residential application. Most concert halls are big enough (high ceilinged) and 'dead' enough to cause concert-grands to act as if they were standing in free-space (relatively). People marvel at the sound of my 190, but its not the instrument, its all about it's potential being realized by optimal placement within the environment. If you 'really' care about sound, stop compromising your instruments potential by placing it as if it were an ornament to be seen, rather than an instrument to be heard.
I really resonate with this. We are so much trained on external stimulation and critics that we always rely on external things. That also applies to other people, not just artists
